Eurovision 2023: Setups for covering live TV events

More than 160 million people will watch the broadcast of the Eurovision Song Contest 2023, making it one of the world’s biggest television events. As 2022 winners Ukraine are unable to host the event due to the ongoing Russian invasion of the country, the spotlight turns to Liverpool, UK. 

This year, MPB supported the European Broadcasting Union (EBU) Content Team at Eurovision by providing them with used photo and video kit to capture the high-profile event. On the world stage, you can trust used camera equipment to always perform. 

In this article, let’s hear from the EBU Content Team at Eurovision—photographers Chloe Hashemi, Corinne Cumming and Sarah Louise Bennett, and videographer Chris Fox—about the cameras, lenses and accessories they chose to create imagery seen by millions. 

Corinne Cumming: Canon EOS R5 & 5D Mark IV

• Canon EOS R5

• Canon EOS 5D Mark IV

• Canon EOS EF-R Control Ring Mount Adapter

• Canon EF 16-35mm f/2.8 L USM

• Canon EF 24-70mm f/2.8 L USM

• Canon EF 70-200mm f/4 L USM

• Canon EF 600mm f/4 L IS USM

• Manfrotto Monopod

• Profoto B10 Plus

• Black Rapid Double Camera Strap

• Think Tank Pro Speed Belt

I only just upgraded to the Canon EOS R5, which I love. I’ve also borrowed a second Canon EOS 5D Mark IV from MPB, just in case I need a more familiar camera in my hands.

I only have one mirrorless camera at the moment, so I haven’t upgraded any of my lenses to mirrorless. But the Canon EF-R Control Ring is great, it has a programmable ring to change ISO, shutter speed or aperture. Mine is set to change the ISO.

The Canon EF16-35mm f/2.8 L USMis excellent for big wide crowd shots, while the EF24-70mm f/2.8 L USM is great for the wider shots of the stage, the turquoise carpet and studio portraits.

My go-to studio portrait lens is the Canon EF70-200mm f/4 L USM. I like to be able to shoot from further away, and lower down to accentuate the subject's height.

For the 2022 Eurovision in Turin, I took the Canon EF100-400mm f/4.5-5.6 L IS. It was perfect for shooting close-ups of the artists on stage. But this year we’ll be further away from the stage, so I’ve borrowed the Canon EF 600mm f/4 L IS USMfrom MPB. The 600mm focal length will give me a lot more flexibility from one vantage point. We won’t have to move around as much, which makes shooting around a TV production a lot easier.

While using the 100-400mm and 600mm lenses, the Manfrotto Monopod will take the pressure off of my back and shoulders. It’s so important to look after your body, especially whilst working on a job as long as Eurovision.

In my portrait studio, I’ll use the Profoto B10X Plusto take photos of all the artists—and hopefully the hosts, too. These are great because they are battery-powered. Last year, we had a power cut. But thankfully, I could continue to work because I had these. Being able to continue regardless of power cuts is essential, especially when everything we do is on a tight schedule.

The Black Rapid Double Camera Strap means I can carry both cameras at the same time, while also making sure to look after my back and shoulders by distributing the weight evenly.

During the live shows, I use the Think TankPro Speed Belt and lens-changer pouches to store spare batteries, lens cloths and spare memory cards. I don’t usually have lenses in the pouches, I actually put a water bottle and a flash gun in there instead so I don’t have to run back to my bag to grab them.

Chloe Hashemi: Canon EOS 5D Mark IV & 6D

• Canon EOS 5D Mark IV

• Canon EOS 6D

• Canon EF 24-70mm f/2.8 L USM

• Canon EF 70-200mm f/4 L USM

• Sigma 24-70mm f/2.8 DG OS HSM ART (EF Fit)

• Sigma 50mm f/1.4 DG HSM ART (EF Fit)

The Canon EOS 5D Mark IV is my go-to camera, and has been for about five years. With a full-frame sensor and super high ISO ranges, it’s a powerful camera for shooting live music in low-light situations. Usually, my backup camera body is my Canon EOS 6D. But, for Eurovision, MPB has kindly let me borrow another Canon EOS 5D Mark IV. 

I always like to shoot with two cameras. It gives me the flexibility to be able to switch between different lenses without having to remove and switch lenses each time. 

I will usually have a wider lens—like a Canon EF 24-70mm f/2.8 L USM—on one camera, and a telephoto one—such as a Canon EF 70-200mm f/4 L USM—on the other. This allows me to get closer to the action.

The Sigma24-70mm f/2.8 DG OS HSM EF is a super versatile lens, handy for wides of the arena stage and for group shots when I am shooting backstage.

And the Sigma50mm f/1.4 DG HSM EF is important as I always prefer shooting with prime lenses, where I can, in low-light situations. I find that they produce sharper images, and they are really great for shooting portraits too. I used this lens a lot when I was shooting portraits and details of the artists backstage during the rehearsals stage. I found that it was a non-intrusive option as it’s nice and compact and always produced a crisp image, even in the dimly-lit corridors of the arena.

I can throw my lens cleaning pen in my pocket when shooting out and about the arena, and use it to quickly brush or wipe any lint or dirt off any of my lenses.

Sarah Louise Bennett: Nikon Z6 II & Z7 II

• Nikon Z6 II

• Nikon Z7 II

• Nikon FTZ II Mount Adapter

• Nikon AF-S 24-70mm f/2.8G IF-ED

• Nikon AF-S 70-200mm f/2.8G ED VR II

• Nikon AF-S 200-400mm f/4G IF-ED VR

• Nikon AF-S 600mm f/4E FL ED VR

• 3-Legged Thing Trent Monopod

• Hold Fast Money Maker Double Harness

• BlackRapid Double Breathe Camera Harness

• Peak Design 10L Every Day Sling Bag

The Nikon Z6 II is my main camera for live music, I made the switch from Nikon DSLR last year, and I love the lighter form and speed of these cameras, they’re absolutely brilliant in low light. The electronic viewfinder took me a little while to adjust to, but they’re brilliant—it’s so great being able to see exactly what your shot will be like.

I’ve borrowed a Nikon Z7 II from MPB for Eurovision as it has the same smaller and lighter body as the Nikon Z6 II but has a higher resolution. This means there’s slightly more noise in low light, but it is also a lot more forgiving when I might need to crop in when shooting from further away.

The Nikon AF600mm f/4E FL ED VR is an absolute beast of a lens, I’ve been using this alongside a 3-legged ThingTrentMonopod to grab shots from the balconies right at the back of the arena. Although we have almost unlimited access at Eurovision, it really is the best spot to grab close-up intimate shots of the artists, at almost their eye level. All my lenses are Nikon F-mount, and I’ve been using them with the Nikon F–Z IImount adapter.

I’ve been using the Nikon AF-S70-200mm f/2.8G ED VR II as one of my main lenses when photographing from the arena floor. It’s comparatively quite light and fast at f/2.8, perfect for freezing all the incredible dance moves from a lot of the artists this year.

The Nikon AF-S200-400mm f/4G IF-ED VRis another good lens for close-ups from further away in the room. This is great for when I’m switching between grabbing the action in the green room between performances, but also needing to capture the live performances. The 200-400mm range gives me a lot more flexibility, whilst still keeping that relatively fast f/4 aperture throughout.

I’ve also been using the Nikon AF24-70mm f/2.8G IF-ED while working on the arena floor. It’s perfect for capturing wide shots of all the incredible pyrotechnics in this year’s show, the beautiful sets and staging, as well as the energy of both the crowd and the green room.

The Hold Fast Money Maker Double Harness is really comfortable. It allows me to carry two cameras on the move, without ruining my back. It also looks very slick in leather.

The Peak DesignEveryday Sling 10Llets me carry around an extra lens, a bottle of water, spare cards and batteries without interfering with my harness. It’s also got a nice slim profile, so it doesn’t get in the way when slipping through crowds.

And the BlackRapid Double Breathe Camera Harness is irreplaceable when shooting with two cameras. It saves my shoulders and equally distributes the weight of two cameras with two heavy lenses on my back and shoulders.

Chris Fox: Sony FX6

• Sony FX6

• Sennheiser MD 46

I filmed our studio interviews and behind-the-scenes footage on the Sony FX6camera. For me, nothing beats having a proper all-in-one video camera with mic connections and SDI for live streaming and monitoring. The full-frame sensor makes the footage look really crisp, and the adjustable ND filter lets you control light while keeping the aperture wide for nice bokeh. 

For live events, I love using the Sennheiser MD 46 ENG handheld mics. Paired with a branded mic foam, they look professional and nothing beats having a quality mic right up close to your artist for clear sound.

Watch Corinne Cumming’s shoot with RuPaul’s Drag Race UK contestant Charity Kase. Or, discover more on the MPB content hub.